A presente dissertação tem por objetivo avaliar o papel do silêncio na formação contratual. Analisa-se, tendo-se como base os conceitos da proposta e da aceitação, assim como suas principais modalidades, as formas pelas quais pode se dar a declaração negocial. Inicia-se, com o objetivo de compará-los com o silêncio, pelo exame dos meios não silenciosos de declaração negocial, individualizando-se e analisando-se criticamente as formas expressa e tácita, assim como os comportamentos concludentes, elementos objetivos da última. Mediante o estudo dessas formas e das teorias tradicionais do silêncio, conclui-se que a adotada pelo vigente Código Civil é a Teoria do Silêncio Qualificado. A partir daí, analisa-se o silêncio como forma de declaração negocial e sua evolução no Direito brasileiro e comparado para alcançar-se o vigente diploma civil, o qual prevê que o silêncio importa anuência, em seu artigo 111. Conclui-se, tendo-se como base o acima exposto, que o silêncio é forma de declaração negocial autônoma, não se constituindo, pois, sinônimo ou subespécie da declaração expressa ou da tácita. Infere-se, igualmente e por isso mesmo, então, que o silêncio é forma de aceitação à proposta contratual, desde que presentes os elementos qualificadores – circunstâncias e usos – previstos no dispositivo legal respectivo e desde que observados outros elementos aplicáveis às relações de Direito civil e contratuais, especialmente. Analisam-se por fim, exemplificativamente, outros elementos de concreção a serem observados para valoração do silêncio, como a confiança negocial e os fins econômicos e sociais. / The purpose of the thesis is the assessment of the silence’s role in the contract formation. Taking into consideration the offer and acceptance meanings as well as their categories, their means of declaration are analyzed. Starting with the comparison to the silence as an objective, the tacit and express declarations are critically assessed. Based on the studies above mentioned it is possible to conclude that the theory regarding the silence adopted by the Brazilian Civil Code is the so-called Qualified Silence Theory. Therefore, the silence as a contractual declaration and its evolution in the Brazilian Civil Law is examined in order to reach the current article in the Brazilian Civil Code concerning this issue provision. The silence is an autonomous means of will declaration and it is not attached to the express or to the tacit one. This way, the conclusion regarding the silence’s role in the contract formation is that it is a way of expressing acceptance since special circumstances are present in the case, as stated in the article 111 of the Brazilian Civil Code, and once other elements applicable to the civil law and, specially, contractual relations are observed. e desde que observados outros elementos aplicáveis às relações de Direito civil e contratuais, especialmente Eventually, other concretion components – besides those provided in the referred article, which are the case’s circumstances and the common/usual practices – need to be taken into consideration in the silence analysis, such as the trust and the economical and social goals.

The aim of this thesis is to analyse the silence principle (i.e. the right to silence and the privilege against self-incrimination) and to determine its place within procedural and constitutional law. Should the silence principle be entirely abolished, sustained as a limited evidentiary rule or elevated to the status of a constitutional right? The central question to be argued is whether the silence principle has a rationally justifiable and valid procedural place within the accusatorial-adversarial Anglo-American system of criminal justice. The methodology employed in the main body of this thesis involves a critical and comparative examination of the silence principle and is founded on the following four legs : a) A historical analysis of the silence principle and its antecedents. Does the historical silence principle support the modern silence principle in description and scope? b) An analysis of the distinction between a "right" and a "privilege". Why is the accused's right to silence distinguished from the witness privilege? Is there a philosophical justification for the silence principle? c) A comparative study of the two major jurisdictions of the Anglo-American system of justice, namely : i) The American silence principle constituted as the fifth amendment privilege against self-incrimination and entrenched within the U.S. Constitution; ii) The English silence principle constituted until recently as a common law evidentiary rule contained within a body of ill-defined principles loosely referred to as the unwritten English Constitution. The common law rule has been statutorily formalized in the Criminal Justice and Public Order Act 1994 and will be greatly influenced by the new Human Rights Act 1998. iii) The South African interpretation of a silence principle is caught between the two extremes of an American absolute right and an English evidentiary rule. Silence in South Africa is a relative right subject to a balance of interest and reasonable limitation. Which of these definitions is better suited as a template for an ideal silence principle? vi d) A comparative international study of the procedural differences between an inquisitorial and an accusatorial system. How does a principle of silence function outside the accusatorial system? The conclusion of the thesis is that the most suitable role of a silence principle within the accusatorial system is one of a flexible compromise. While it does not deserve abolition neither does it deserve elevation into a constitutional right. Silence is best suited to the role of a procedural evidentiary rule. A circumstantial item of evidence with its trial admissibility determined by the criteria of relevancy and prejudice. If the legal, political and cultural pressures upon a particular jurisdiction are such as to demand constitutional entrenchment then the second best alternative is to define the silence principle as a relative right susceptible to a properly applied balance of interest test. The worst alternative is to define the silence principle in absolute terms. Silence as an evidentiary rule or a relative right means that it will sometimes be necessary to emphasise the autonomous interests of the individual in remaining silent and at other times the societal interest in crime prevention. Which interest is to be preferred and to what extent will depend on the prevailing social pressures of the day. It shall be argued that the elevation of a silence principle into a constitutional right stifles a critical examination of the essentiale of silence by disguising its inherent irrationality and lack of a philosophical raison de etre. The interpretation of a silence principle as an absolute constitutional right by the Supreme Court of the United States is confusing, contradictory and riddled with innumerable exceptions. By contrast the English approach to silence is pragmatic and highly successful. The Criminal Justice and Public Order Act of 1994 gives a meaningful interpretation of silence which takes into account its logical flaws. The English statute is a successful compromise between the need to protect the individual during the criminal process and the need to combating crime in the most efficient manner possible. While the South African interpretation of silence is a workable compromise, South Africa may have been better served by defining its silence principle in terms of the pragmatic English statutory model which allows for the efficient but carefully controlled use of silence in the combating of crime. / Jurisprudence / LL.D. (Jurisprudence)

This dissertation was conducted to determine whether Egyptians’ use of Facebook between December 17, 2010 and February 11, 2011 affected their perceptions of majority and minority opinions about President Hosni Mubarak’s government and thus influenced their willingness to express their opinions about that regime, in turn forming a new online public opinion that called for the January 25 revolution. For the purpose of this study, the theoretical framework was the spiral of silence theory. To answer the research questions in this dissertation the researcher used the qualitative approach, combining in-depth interviews with Egyptian Facebook users and qualitative content analysis of their Facebook pages. The results show that as Egyptians used Facebook, they came to believe that others held beliefs about the Mubarak regime similar to their own, they became more hopeful and confident that they could make a difference, and they became more likely to speak out about their opinions. As more voices began to be heard, more voices joined in the chorus of condemnation. These data suggested that the use of Facebook, as a means both of perception and expression, helped facilitate the formation of what can be called a “spiral of voice” among growing numbers of Egyptians. It was concluded that Noelle-Neumann’s spiral of silence may well have been an accurate description of public opinion formation in an age of government-controlled media, but that spiral of voice may be a better descriptor of public opinion formation and action in the age of social media.

Esta tese concentra-se sobre o silêncio e o modo como ele catalisa atmosferas em um conjunto de filmes específicos, a partir do conceito de Stimmung, revisitado por Hans Ulrich Gumbrecht. O norte de pesquisa estabeleceu-se sobre a seguinte questão: como observar o silêncio e suas possíveis marcas na constituição de atmosferas na filmografia de Andrei Tarkovski? A interrogativa apresentada foi desdobrada em quatro capítulos, objetivando examinar as especificidades do silêncio nos exemplos observados, com vistas a ampliar sua definição para os estudos de cinema. No capítulo ‘O arcabouço teórico’, são apresentadas as proposições de Gumbrecht e as dicotomias pertinentes entre os efeitos de presença e os efeitos de sentido, em diálogo com os estudos das materialidades da comunicação, e o conceito de ‘atmosfera cinematográfica’, cunhado por Inês Gil (2005). Complementa a discussão a observação dos universos sonoros e imagéticos na sala de projeção e suas relações com o espectador. No capítulo ‘Um percurso marcado pelo silêncio’, faz-se o exame das distintas especificidades do silêncio, da linguagem para as artes e de sua multiplicidade na sala escura, através das diferentes experiências vivenciadas pelo público e que puderam ser recuperadas pela bibliografia especializada. Impulsionado por tais questões, chega-se ao termo ‘efeito-silêncio’, dado que as conformações aqui estudadas revelaram-se através da organização das sonoridades que criam uma impressão de silêncio, ou seja, efeitos-silêncio, como se primou por chamar tal configuração. Com as discussões teóricas explicitadas, o capítulo ‘Um ‘leve toque’ de Andrei Tarkovski’ apresenta um investimento sobre a produção cinematográfica do diretor, evidenciando os traços biográficos e o contexto de suas produções que auxiliaram na temática. No capítulo ‘O silêncio atmosférico em Andrei Tarkovski’, são dispostos dois eixos textuais, ‘interioridades’ e ‘exterioridades’, estratégia que auxilia a explicitar as articulações engendradas pelos efeitos-silêncio para a constituição de atmosferas em exemplos extraídos de A infância de Ivan (1962), Andrei Rublev (1966), Solaris (1972), O espelho (1975), Stalker (1979), Nostalgia (1983) e O sacrifício (1986), através de um olhar que admite a oscilação entre os efeitos de presença e a atribuição e a identificação de sentido no contato com os objetos comunicacionais. A discussão é encerrada nas ‘considerações finais’, em que se produz uma reflexão sobre as facetas do silêncio no âmbito cinematográfico e seu espaço no interior da filmografia de Andrei Tarkovski, a partir das questões ofertadas pela pesquisa. / The present dissertation is focused on silence and the way it mobilizes atmospheres in a specific set of films, from the concept of Stimmung¸ revisited by Hans Ulrich Gumbrecht. The research was constructed upon the following question: how to observe silence and its possible imprints in the composition of atmospheres in Andrei Tarkovski’s filmography? The presented interrogative unfolded in four chapters aiming to examine silence’s specificities in the observed examples, with the goal to broaden its definition for cinema studies. In the chapter ‘The theoretical framework’, Gumbrecht’s propositions and the pertinent dichotomies between the effects of presence and the effects of sense are presented in a dialogue with studies on the materialities of communication and Inês Gil’s (2005) concept of ‘cinematic atmosphere’. The observation of audio and image universes in the projection room and their relationship with the spectator complement the discussion. In the chapter ‘A path marked by silence’, an exam of silence’s different specificities is made, from languages to arts, and its multiplicity in the dark room, through the diverse experiences the audiences had and that could be recovered by specialized literature. Driven by such questions, one reaches the term ‘silence-effect’, given that the conformations here studied were reveled through the organization of sonorities, that is to say, silence-effects as such configuration was named. With the theoretical discussions clarified, the chapter ‘A ‘subtle touch’ of Andrei Tarkovski’ presents an examination of the director’s cinematic production, pointing out biographic traces and the context of their production that could help on the topic. In the chapter ‘The atmospheric silence in Andrei Tarkovski’ two textual axes, ‘interiorities’ and ‘exteriorities’, are presented, a strategy that helps show the connections engendered by silence-effects for the constitution of atmospheres in examples taken from the movies Ivan’s Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), Stalker (1979), Nostalghia (1983) and The Sacrifice (1986), through a view that grants the oscillation between presence effects and the identification and attribution of meaning in our contact with communicational objects. The discussion ends in the ‘Final Considerations’, where a reflection on silence’s facets on the cinematographic scope and its space inside Andrei Tarkovski filmography is produced from the questions proposed by the research.

This theses focused on the topic of silence and sound is divided in two section. Theoretical part contains information and knowledge from fields of physical phenomena, theory opf colors, psychology and theory of art (mainly based on work of W. Kandinski), that establish theorethical baseline for practical part, in this case realized graphic intent. Realization of practical part is an authorial construction of plastic interpretation of silence and sound. It tries to graphically express these two constructs with combination of pottery and glass in colorful compositions.

Este trabalho analisa, compara e disseca o enredo de duas obras literárias, Vidas Secas, de Graciliano Ramos e Gaibéus, de Alves Redol. Escritores de nacionalidades distintas, mas que apresentam pontos de semelhança em sua criação artística. O contexto da ditadura vivido por brasileiros e portugueses, de certa forma, contribuiu para o desenvolvimento da temática social nessas duas obras. A fim de expor a problemática do homem do campo, Vidas Secas e Gaibéus expõem personagens que tendem a sobreviver e a conservar-se à margem da sociedade e, principalmente, carentes da atenção dos governos / This paper analyzes compares and dissects the plot of two literary works, Vidas Secas of Graciliano Ramos and Gaibéus of Alves Redol. They are writers of different nationalities, but they have points of similarity in their artistic creation. The context of the dictatorship lived by brazilian and Portuguese, somehow, contributed to the development of social thematic in these two works. In order to denounce the problems of rural man, Vidas Secas and Gaibéus and expose people who tend to survive and keep the margins of society and particularly the deprived of attention of governments

Conselho Nacional de Desenvolvimento Científico e Tecnológico / O presente estudo tem por objetivo analisar o lugar ocupado pelo silêncio na narrativa de pessoas que sofreram violência homofóbica e que são acompanhadas pelos dispositivos públicos de atenção e cuidado a lésbicas, gays, bissexuais, travestis e transexuais implantados no estado do Rio de Janeiro. Utiliza-se neste trabalho o conceito de homofobia como violência motivada pelo preconceito sexual, que se origina do processo histórico que produziu a separação entre homo e heterossexualidade e estabeleceu a última como norma. O trabalho de campo realizado em dois Centros de Referência e num dispositivo público de saúde incluiu entrevistas semiestruturadas com 11 usuários e 25 profissionais, no período de junho a novembro de 2011. A análise do material indica que o silêncio constitui-se como um discurso legítimo sobre a dor, servindo de proteção para a manutenção de determinadas relações, preenchendo, portanto, um espaço de fala. Reconhecer o lugar do silêncio, mesmo em dispositivos que se propõe a acolher denúncias de violência, pode facilitar o fortalecimento do encontro entre profissionais e usuários dos serviços voltados para pessoas LGBT.

Este trabalho se propõe a analisar diferentes ocorrências do fenômeno da metaficção presentes nas obras da escritora Adriana Lisboa e estabelecer conexões existentes entre o fenômeno e o drama da consciência humana, constatando que os impasses derivados da busca de uma identidade expõe a arte a uma representação irônica da realidade. Nesse sentido, analisamos as obras Sinfonia em branco, romance publicado em 2001, Um beijo de colombina, de 2003 e Rakushisha de 2007, visando a interpretação e o estudo do processo de construção dos romances, sobretudo, na sua relação entre ficção, realidade, identidade, dúvida e silêncio. A partir destas perspectivas, verificamos que todas as obras guardam em si uma multiplicidade de olhares e vozes a retratar, nas pequenas coisas do cotidiano, um universo de poesia a refletir tanto a escrita quanto a nossa condição humana / This work intends to analyze different occurrences of the phenomenon of metafiction present in the writings of writer Adriana Lisboa and establish connections existing between the phenomenon and the drama of human consciousness, noting that deadlocks derived search of an identity exposes the art of ironic representation reality. Accordingly, we analyze the works Sinfonia em branco, novel published in 2001, Um beijo de colombina in 2003, Rakushisha in 2007, so the interpretation and study of the construction of the novels, especially in its relationship between fiction, reality, identity , doubt and silence. From these perspectives, we see that all works itself keep a multiplicity of perspectives and voices to portray, in the little things of everyday life, a universe of poetry to reflect both the written and the human condition

Esta pesquisa analisa os romances A paixão segundo G.H. (1964), de Clarice Lispector e Malina (1971), de Ingeborg Bachmann, detendo-se nos conceitos de narração e identidade, procurando estabelecer um ponto de contato entre os dois, visto que é através da consciência do ato narrativo que as personagens-narradoras dos dois romances podem dispor de elementos que as ajude a construir sua identidade. Os romances serão analisados como sendo exemplos de romance de formação do século XX, assumindo então que o caminho percorrido pelas personagens G.H. e Eu seria uma trajetória formativa na qual conscientizam-se de si mesmas e amadurecem através do enfrentamento de conflitos existenciais. Os corpora desta dissertação foram escritas em um período limítrofe entre a literatura Modernista e Pós-Moderna, agregando em si características de ambas as épocas, destacados por um enredo denso e repleto de artifícios de linguagem que explicitam a consciência narrativa das personagens-narradoras do romance. O objetivo desta dissertação é, portanto, analisar a importância da consciência da narrativa de G.H. e Eu durante o seu processo formativo e porque a narração cede lugar ao silêncio nas obras de ambas as escritoras, ainda que de maneira distinta / This research studies A paixão segundo G.H. (1964), of Clarice Lispector and Malina (1971), of Ingeborg Bachmann, deteining in the concepts of narrative and identity, trying to establishan abutment between the two since its through the counsciousness of the narrative act that the characters-narrators of both novels can lay out elements that will help them build their identity. The novels will be analysed as examples of formation novels in the twentieth century, assuming then that the path taken by the characters G.H. and I would be a formative trajectory in which both of them become aware of themselves and mature through the confrontation of existencial conflicts. The corpora of this work were written in a borderline period between Modernist and Postmodern literature, adding to itself features of both times, highlighted by a dense plot and full of artífices of language that explicit the narrative awareness of the characters-narrators of the novels. The aim of this work is, there fore, to analyse the importance of the narrative awareness of G.H. and I throught their formative process and why the narration gives place to silence in the work of both writers, even though in different way

Made available in DSpace on 2014-06-11T19:33:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-16Bitstream added on 2014-06-13T19:04:30Z : No. of bitstreams: 1 pascucci_mv_dr_mar.pdf: 451186 bytes, checksum: a5333086bfaf7efd62ca87595e88cfc9 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente tese situa a problemática da falta silêncio e as suas consquências na sociedade atual. Através de um diálogo teórico-reflexivo tenta caracterizar a experiência do silêncio como elemento presente na vida do ser humano e, portanto, também nas entrelinhas do acontecer educativo, e analisar a arte como possibilidade de uma experiência estética transformadora, acontecimento de silêncio. Assim sendo, as experiências do silêncio e da arte podem mediar uma educação capaz de dar um sentido outro à prática educativa na medida em que oferecem elementos de transformação. Para tanto, aborda o significado da experiência, suas relações com a subjetividade e sua dimensão como acontecimento que nos surpreende e nos dá o que pensar. Trata das práticas ascéticas dos estoicos onde o silêncio, dentre outras, é considerado um dos exercícios necessários à ―constituição de um saber sobre o mundo como experiência espiritual do sujeito‖ e como ―constituição do sujeito como fim último para si mesmo, através e pelo exercício da verdade‖. A seguir, aborda o silêncio como elemento constitutivo do ser, morada do homem, um dos espaços onde podemos fazer experiência. Em se tratando de arte, esse espaço é o inumano de nós, onde o gesto deixa rasto despertando o sentimento sublime, desejo do inexprimível e do indizível, universo dos juízos estéticos / This thesis is about the problem of the lack of silence and its consequences in the society today. Through refletive and theoretical dialogue attempts to characterize the experience of silence as an element in the lives of human beings, and therefore also in the implied sense of the educative happening, and to check the possibility of using art as a transformative aesthetic experience, an event of silence. So, the experience of silence and art can both be an arbiter of an education that is able to give another sense to the educative practice as they offer other elements of transformation. To achieve this, it broaches the meaning of the experience, its relationship with subjectivity and its dimension as a happening that surprises and make us to think. It deals with the ascetic practices from stoic people where the silence, among other things, is considered to be one of the practices needed for the ―constitution of a knowledge about the world as a spiritual experience of a person‖ and for the ―constitution of a person as an ultimate end to himself through and for the exercise of the truth‖. In the sequence, it approaches the silence as a constitutive element of the human being, the inner part of the man, one of the areas we can exert this experience. In terms of art, this area is the inhuman part of ourselves, where the gesture can leave traces to awake our sublime feelings, longing for something one cannot express nor state, the universe of aesthetic appraisal